This study seeks to explore the role and significance of aria insertion, the practice that allowed singers to introduce music of their own choice into productions of Italian operas. Each chapter investigates the art of aria insertion during the nineteenth century from varying perspectives, beginning with an overview of the changing fortunes of the practice, followed by explorations of individual prima donnas and their relationship with particular insertion arias: Carolina Ungher's difficulties in finding a "perfect" aria to introduce into Donizetti's Marino Faliero; Guiditta Pasta's performance of an aria from Pacini's Niobe in a variety of operas, and the subsequent fortunes of that particular aria; Maria Malibran's interpolation of Vaccai's final scene from Giulietta e Romeo in place of Bellini's original setting in his I Capuleti e i Montecchi; and Adelina Patti's "mini-concerts" in the lesson scene of Il barbiere di Siviglia.
The final chapter provides a treatment of a short story, "Memoir of a Song," narrated by none other than an insertion aria itself, and the volume concludes with an appendix containing the first modern edition of this short story, a narrative that has lain utterly forgotten since its publication in 1849. This book covers a wide variety of material that will be of interest to opera scholars and opera lovers alike, touching on the fluidity of the operatic work, on the reception of the singers, and on the shifting and hardening aesthetics of music criticism through the period.

The most widely used piano technique book ever written, The Virtuoso Pianist was designed to develop agility and strength in all the fingers as well as flexibility of the wrists. Exercises are sequenced so that in each successive exercise, the fingers are rested from the fatigue caused by the previous one. Translated from the original French, this Masterwork edition includes the complete Exercises 1-60 and is clearly engraved for easy reading. Hanon's original introduction is included. He recommends that a student have at least one year of experience before starting this book.
A General MIDI disk is available separately (Item #5715). The disk contains varied styles of accompaniments including pop, classical and jazz for Exercises 1-20.

The Oxford Book of Choral Music by Black Composers is a landmark collection of non-idiomatic compositions from the sixteenth century to the present day, providing a comprehensive introduction to an area of choral music that has been historically under-represented. This unique anthology seeks both to improve representation in the historical canon and to showcase the music of some of the best names in choral music today.

In Bewitching Russian Opera: The Tsarina from State to Stage, Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century - Catherine I, Anna, Elizabeth, and Catherine the Great. Engaging with ethnomusicological, historical, and philological approaches, her study traces the tsarinas' deeply invested interest in musical drama, as each built theaters, established drama schools, commissioned operas and ballets, and themselves wrote and produced musical plays. Naroditskaya examines the creative output of the tsarinas across the contexts in which they worked and lived, revealing significant connections between their personal creative aspirations and contemporary musical-theatrical practices, and the political and state affairs conducted during their reigns. Bewitching Russian Opera ultimately demonstrates that the theater served as an experimental space for these imperial women, in which they rehearsed, probed, and formulated gender and class roles, and enacted on the musical stage political ambitions and international conquests which they would later carry out on the world stage itself.
Beginning with the eighteenth-century imperial court, Naroditskaya illustrates the increased theatricality of the court and the popularity of musical theater among nobles, which occurred alongside an appropriation of folk and court ceremonies into the theater. Through contemporary performance theory, she demonstrates how the opportunity for role-playing and costume-changing in performative spaces allowed individuals to cross otherwise rigid boundaries of class and gender. A close look at a series of operas and musical theater productions - from Catherine the Great's fairy tale operas to Tchaikovsky's Pique Dame - illuminates the transition of these royal women from powerful political and cultural figures during their own reigns, to a marginalized and unreal Other under the patriarchal dominance of the subsequent period. These tsarinas successfully fostered the concept of a modern nation and collective national identity, only to then have their power and influence undone in Russian cultural consciousness through the fairy-tales operas of the 19th century that positioned tsarinas as "magical" and dangerous figures rightfully displaced and conquered--by triumphant heroes on the stage, and by the new patriarchal rulers in the state.

O.E.Deutsch's documentary biography of Mozart, first published in German in 1961 and translated into English in 1965, presented all the contemporary documentation on Mozart then known to scholars. During three decades of research more have come to light, and Dr Eisen himself has substantially augmented their number with a methodical search through contemporary research material - newspapers, diaries, memoirs, books and many others. This new edition presents all the material discovered since the English edition of the Deutsch volume, with full description and documentation. This book is essential reading for anyone concerned with the basic information on Mozart's life, his activities and the reception of his music.

This comprehensive study treats the wind works of Anton Bruckner as a complete genre and uses them to illustrate how the composer evolved in style throughout his career. A major nineteenth-century composer, organist, and church musician, Bruckner's compositional style changed dramatically in the early 1860s, dividing his career into two distinct parts. During his early career he immersed himself in the study of traditional musical principles including form, harmony, counterpoint, and orchestration. The second phase of his career, in which he composed the symphonies upon which much of his current reputation rests, was marked by his experimental approaches to harmony and tonality. Many of his early compositions exhibit landmarks of his later style. The wind instrument pieces incorporate the best aspects of both of Bruckner's styles and reflect the progress of his professional life.

Organized chronologically, the music is studied and classified within set time periods. Each wind work of a particular period is reviewed according to the historical circumstances contributing to its creation, its specific musical content, and its success as a musical work in relation to wind music and specifically to Bruckner's development. The analyses of Bruckner's compositions are enhanced by musical examples throughout the text.

As there are several hundred piano studies by Czerny, it might become confusing to attempt to pick out the most effective exercises. To overcome this problem, Heinrich Germer, the original editor, chose those he thought were best. Willard A. Palmer has made several changes to metronome markings, fingerings and pedal indications where he felt certain passages needed clarification.

Going to concerts is becoming, for large numbers of Americans, an increasingly frequent pleasure. For those who encounter unfamiliar traditions and terms in the concert hall, here is information and advice which tells all listeners what they need to know to be comfortable at an orchestral concert. Includes background, biographies, and discussions of 200 masterpieces. Drawings.

Carl Schachter is the world's leading practitioner of Schenkerian theory and analysis. His articles and books have been broadly influential, and are seen by many as models of musical insight and lucid prose. Yet, perhaps his greatest impact has been felt in the classroom. At the Mannes College of Music, the Juilliard School of Music, Queens College and the Graduate Center of the City University of New York, and at special pedagogical events around the world, he has taught generations of musical performers, composers, historians, and theorists over the course of his long career. In Fall 2012, Schachter taught a doctoral seminar at the CUNY Graduate Center in which he talked about the music and the musical issues that have concerned him most deeply; the course was in essence a summation of his extensive and renowned teaching. In The Art of Tonal Analysis, music theorist Joseph Straus presents edited transcripts of those lectures. Accompanied by abundant music examples, including analytical examples transcribed from the classroom blackboard, Straus's own visualizations of material that Schachter presented aurally at the piano, and Schachter's own extended Schenkerian graphs and sketches, this book offers a vivid account of Schachter's masterful pedagogy and his deep insight into the central works of the tonal canon. In making the lectures of one of the world's most extraordinary musicians and musical thinkers available to a wide audience, The Art of Tonal Analysis is an invaluable resource for students and scholars of music.

From the series examining the development of music in specific places during particular times, this book looks at the classical period, in Europe and America, from Vienna and Salzburg to the Iberian courts and Philadelphia.

The phrase "popular music revolution" may instantly bring to mind such twentieth-century musical movements as jazz and rock 'n' roll. In Sounds of the Metropolis, however, Derek Scott argues that the first popular music revolution actually occurred in the nineteenth century, illustrating how a distinct group of popular styles first began to assert their independence and values. London, New York, Paris, and Vienna feature prominently as cities in which the challenge to the classical tradition was strongest, and in which original and influential forms of popular music arose, from Viennese waltz and polka to vaudeville and cabaret.
Scott explains the popular music revolution as driven by social changes and the incorporation of music into a system of capitalist enterprise, which ultimately resulted in a polarization between musical entertainment (or "commercial" music) and "serious" art. He focuses on the key genres and styles that precipitated musical change at that time, and that continued to have an impact upon popular music in the next century. By the end of the nineteenth century, popular music could no longer be viewed as watered down or more easily assimilated art music; it had its own characteristic techniques, forms, and devices. As Scott shows, "popular" refers here, for the first time, not only to the music's reception, but also to the presence of these specific features of style. The shift in meaning of "popular" provided critics with tools to condemn music that bore the signs of the popular-which they regarded as fashionable and facile, rather than progressive and serious.
A fresh and persuasive consideration of the genesis of popular music on its own terms, Sounds ofthe Metropolis will appeal to students of music, cultural sociology, and history.

The International Who s Who in Classical Music 2009 is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world.

Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. Appendices provide contact details for national orchestras, opera companies, music festivals, music organizations and major competitions and awards.

Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers.

Key features:

• over 8,000 detailed biographical entries
• covers the classical and light classical fields
• includes both up-and-coming musicians and well-established names.

This book will prove invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

MUSIC in the BAROQUE ERA FROM Monteverdi TO Bach By MANFRED R BUKOFZER PROFESSOR OF MUSIC, THE UNIVERSITY OF CALIFORNIA. New York NORTON tf COMPANY INO COPYRIGHT, 1947, BY W. W. NORTON COMPANY, INC. NEW YORK, N. Y. IN THE tmiTED STATES OB AMERICA FOR THE PUBLISHERS BY THE VAIL-BALLOXJ PRESS MCE IVEO R. Y CMF 1869 1943 . A. I ion. eer o CONTENTS PREFACE xiii Chapter One RENAISSANCE versus BAROQUE MUSIC i Disintegration of Stylistic Unity i Stylistic Comparison between Renaissance and Baroque Music 9 The Phases of Baroque Music 16 Chapter Two EARLY BAROQUE IN ITALY 20 The Beginnings of the Concertato Style Gabriel 20 The Monody Peri and Caccini 25 Transformation of the Madrigal Monteverdi 33 The Influence of the Dance on Vocal Music 38 Emancipation of Instrumental Music Frcscobaldi 43 The Rise of the Opera Monteverdi 55 Tradition and Progress in Sacred Music 64 Chapter Three EARLY AND MIDDLE BAROQUE IN THE NORTHERN COUNTRIES 71 The Netherlands School and Its English Background 71 English Antecedents the Abstract Instrumental Style 72 The Netherlands Sweelinck 74 Germany and Austria in the 17th Century 78 Chorale and Devotional Song 79 Chorale Motet and Chorale Concertato Schein 83 The Dramatic Concertato Schiitz 88 Continue Lied, Opera, and Oratorio 97 Instrumental Music Scheldt, Froberger, and Biber 104 Chapter Four ITALIAN MUSIC OF THE MIDDLE BAROQUE 118 The Bel-Canto Style 118 The Chamber Cantata Luigi Rossi and Carissimi 120 vii viii Contents The Oratorio Carissimi and Stradella 123 The Venetian Opera School 128 Instrumental Music the Bologna School 136 Chapter Five FRENCH MUSIC UNDER THE ABSOLUTISM 141 The Ballet de Cour 141 French Reactions to Italian Opera 147 Comedie-Ballet andTragedie Lyrique Lully 151 Cantata, Oratorio, and Church Music 161 Lute Miniatures and Keyboard Music Gaultier and Chambon niires 164 Music in the Iberian Peninsula, New Spain, and Colonial America 174 Chapter Six ENGLISH MUSIC DURING THE COM MONWEALTH AND RESTORATION 180 The Masque and the English Opera Lawes and Blow 180 Consort Music Jenkins and Simpson 190 Anglican Church Music Porter, Humfrcy, and Blow 198 Henry Purcell, the Restoration Genius 203 Chapter Seven LATE BAROQUE LUXURIANT COUN TERPOINT AND CONCERTO STYLE 219 The Culmination of Late Baroque Music in Italy 219 The Rise of Tonality 219 Concerto Grosso and Solo Concerto 222 Ensemble Sonata and Solo Sonata 232 Opera Seria and Opera B Cantata and Sacred Music 239 Late Baroque and Rococo Style in France 247 Ensemble and Clavecin Music 247 Opera and Cantata in France 253 Chapter Eight FUSION OF NATIONAL STYLES BACH 260 The State of Instrumental Music in Germany before Bach 260 The State of Protestant Church Music before Bach 268 Bach The Early Period 270 Bach the Organist Weimar 275 Bach the Mentor C5then 282 Contents ix Bach the Cantor Leipzig 291 Bach, the Past Master 300 Chapter Nine COORDINATION OF NATIONAL STYLES HANDEL 306 The State of Secular Vocal Music in Germany before Handel 306 Handel German Apprentice Period 314 Italian Journeyman Period 318 English Master Period Operas Oratorios Instrumental Music 3 2 4 Bach and Handel, a Comparison 345 Chapter Ten FORM IN BAROQUE MUSIC 35 Formal Principles and Formal Schemes 350 Style and Form 362 Audible Form and Inaudible Order 365 Chapter Eleven MUSICAL THOUGHT OF THE BAROQUE ERA 37 Code of Performance Composer and Performer 371 Theory and Practice of Composition 382 MusicalSpeculation 39 Chapter Twelve SOCIOLOGY OF BAROQUE MUSIC 394 Courtly Musical Institutions of State and Church Private Patronage 394 Civic Musical Institutions Collective Patronage 401 Social and Economic Aspects of Music and Musicians 404 APPENDICES List of Abbreviations 4 5 Checklist of Baroque Books on Music 4 X 7 Bibliography 433 List of Editions 4 i List of Musical Examples 47 1 INDEX 475 ILLUSTRATIONS Facing page PLATE i. Claudio Monteverdi 80 PLATE 2. Schutz among his Choristers 81 PLATE 3. Carissimis The Deluge 112 PLATE 4...

William Billings (1746-1800) was the most important native-born composer of the American colonial and Federal eras. He wrote hundreds of choral compositions, which were set to sacred or devotional texts for use by church choirs, singing schools, and musical societies. Extremely popular in his own time, Billings's music was denigrated during the nineteenth century when European styles governed American musical tastes. In the twentieth century his genius was recognized, and his music is widely sung and studied. Originally published in six tunebooks, the 338 extant pieces were issued in a scholarly edition by the American Musicological Society and The Colonial Society of Massachusetts as The Complete Works of William Billings (4 vols., 1977-1990). The present catalog complements the Complete Works by serving as a guide to its contents and providing a wealth of additional data. Included for each composition are exact title; text source; first line; technical information on length, meter, key, and melody; manuscript sources and contemporaneous reprints; bibliography and modern recordings. An extensive list of works cited is followed by five indexes providing access to the material in the catalog by first line of text, Billings's anthem titles, text sources, musical form (tune types), and musical incipits. The catalog provides for Billings's music information similar to that found in Schmeider's listings for Bach and Koechel's listings for Mozart.

"International Whos Who in Classical Music 2006" is an unparalleled source of biographical information on singers, instrumentalists, composers, conductors and managers. The directory section lists orchestras, opera companies and other institutions connected with the classical music world.
Each biographical entry comprises personal information, principal career details, repertoire, recordings and compositions, and full contact details where available. The directory gives contact details for orchestras, opera companies, festivals, music libraries and conservatories, major competitions and awards, and other music organizations in classical music.
Entries include individuals involved in all aspects of the world of classical music: composers, instrumentalists, singers, arrangers, writers, musicologists, conductors, directors and managers. Among those listed in this new edition are Philip Glass, Lang Lang, George Crumb, Evelyn Glennie, Yo-Yo Ma and Inga Nielsen.
Over 8,000 detailed biographical entries
Covers the Classical and Light Classical fields
Includes both up-and-coming musicians and well-established names
This book will prove invaluable for anyone in need of reliable, up-to-date information on the individuals and organizations involved in classical music.

Heinrich Schenker ranks among the most important figures in the development of western music theory in the twentieth century. His approach to the analysis of music permeates nearly every aspect of the field and continues to this day to be a topic of great interest among music theorists, historians, composers and performers. In his four volume work, Die letzen Sonaten von Beethoven: Kritische Ausgabe mit Einfuhrung und Erlauterung (The Last Piano Sonatas by Beethoven: Critical edition with Introduction and Commentary) Schenker presented editions of Beethoven's Opp. 109, 110, 111 and 101 that were, at the time, unprecedented in their faithfulness to such authoritative sources as Beethoven's autograph manuscripts. He included a movement-by-movement and section-by-section discussion of form and content that grew increasingly penetrating from one volume to the next as the musical theory for which he is now known was developed, alongside inspired and detailed suggestions for the performance of each section of each work. In Beethoven's Last Piano Sonatas: An Edition, with Elucidation, noted Schenker scholar John Rothgeb presents the first English language edition and translation of these important works. Rothgeb builds upon Schenker's text, adding explanations of certain points in the commentary, references to corrections and other remarks entered by Schenker in his personal copies of the volumes, and graphic presentations of several passages (a practice that became standard in Schenker's own analytical work later in his career). Making these seminal works accessible to English speaking scholars and students for the first time, Beethoven's Last Piano Sonatas is an essential reference for music theorists, historians, performers, and composers alike.

Exploring the personal and cultural experiences that have shaped the creative output of one of Australia's foremost composers, this fascinating study begins in a Russian enclave in northern China, progresses through student days in Sydney and San Francisco, and culminates with Sitsky's present position as Professor of Composition at The Australian National University in Canberra. The many influences on his work, including important professional and personal relationships with such eminent persons as the poet Gwen Harwood and the violinist Jan Sedivka, are discussed in detail as are the sources of much of the inspiration for Sitsky's compositions, now numbering close to 200. Of interest to scholars, students, and anyone interested in 20th-century music. In addition to presenting Sitsky's fascinating life story and expounding on the central position he has occupied for the past 40 years in Australia's musical culture, this important work provides for the first time comprehensive bibliographic references to all of Sitsky's compositions, his writing, his recordings, and his appearances as a pianist and lecturer on music. The book is a most valuable addition to any collection, for it is both a work of reference and a compelling story of the development of one of the most eclectic, visionary, and confronting artists of his generation.

Brings new insights to the music of well-known European composers by telling a fascinating, little-known story about French music publishing, specifically through the lens of Jacques Durand's Édition Classique. French composers, performers and musicologists acted as editors of eighteenth- and nineteenth-century European 'classics', primarily for piano. Among these editors were Fauré, Saint-Saëns, Debussy, Ravel and Dukas; the objects of their enquiries included core works by Rameau, Bach, Mozart, Beethoven, Mendelssohn, Schumann and Chopin. Presenting six composer-editor case studies, the volume shows that the French 'accent', both musical and cultural, upon this predominantly Austro-German music was highly varied. Editorial responses range from scholarly approaches to those directed by performance or compositional agendas, and from pan-European to strongly patriotic stances. Intriguing intersections are revealed between old and new, and between French and cross-European canons. Beyond editing, the book explores the Édition's role in pedagogy and performance, including by pianists Robert Casadesus and Yvonne Loriod, and in the reassertion of contemporary French composition, especially regarding innovation around neoclassicism. It will interest a wide readership, including musicologists, performers and concert-goers, cultural historians and other humanities scholars.

First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

Adorno's aesthetics are one of the most important philosophical analyses of the 20th century, but their development remains unclear. Adorno, Aesthetics, Dissonance is the first book to provide a detailed study of how Adorno's thinking of aesthetics developed and to show the different dimensions that came together to make it uniquely powerful. Principal among these dimensions are his intense interest in music and his historical and materialist approach. In addition, by studying how Adorno's aesthetics arose through interactions with different thinkers, particularly Kracauer, Horkheimer, and Schoenberg, it becomes clear that his thought changes in its relation to dialectics. As a result, Adorno's thinking comes to broaden the understanding of aesthetics to include the sphere of sensuality, and in doing so transforms both aesthetics and dialectics through a notion of dissonance, which in turn has substantial implications for the relation of his thinking to praxis.

Satirically utilized by Strauss II to highlight the deceptive aristocratic class, under Lehar, Schoenberg, Mahler, and Webern's pens the waltz became the pivot between the conscious and unconscious, forcing the music into a paralytic "second state" analogous with the stagnation of the Habsburg Empire. The Waltz: The Decadence and Decline of Austria's Unconscious shows how over the hundred years between the Vienna Congress and the dissolution of the Empire, the waltz altered from signifier of upper-class artifice-covering with glitz and glamour the poverty and war central to the time-to the link between the three classes, between man and nature, and between Viennese and "Other." Danielle Hood wields the Freudian concepts of the uncanny and the doppelganger to explain this revolution from the simple signification of a dance to the psychological anxiety of a subject's place in society.

The sequel to Richard Maunder's The Scoring of Baroque Concertos In the baroque era most concertos were - in the modern sense of the term - chamber music, to be played by a small group of musicians each reading from an individual printed or manuscript part. Indeed, composers often expected thesoloist to be accompanied by just a string quartet with a harpsichord or organ continuo. But over the thirty years from 1750, as the classical style was being developed, numbers began to rise slowly. This did not happen at a uniform rate throughout Europe, however, for many concertos continued to be played one-to-a-part, and even by 1780 an ensemble with more than eight or nine strings would have been unusual. The nineteenth-century notion that a concertopitted a lone soloist against a full symphony orchestra still lay some years in the future. At the same time ideas about form were changing, as the Vivaldian ritornello pattern metamorphosed into the concerto-sonata form usedby Mozart and his contemporaries; some unconventional variants appeared as composers strove to keep abreast of latest developments. It was a fascinating period of innovation, in which many hundreds of concertos were written. To be sure, not all of them can be described as "forgotten masterpieces", but among them there are some very fine works that certainly ought to be revived. It is hoped that readers of this book may be encouraged to explore this comparatively neglected repertoire. The late RICHARD MAUNDER was a Fellow of Christ's College, Cambridge. His previous book, The Scoring of Baroque Concertos, was published by The Boydell Press in 2004. He has also published books on Mozart's Requiem, Keyboard Instruments in Eighteenth-Century Vienna and numerous editions of seventeenth- and eighteenth-century music.

"Music and the Making of the Middle Class" explores the making of middle-class culture by analyzing and comparing the ethos and organization of Leipzig's Gewandhaus and Birmingham's Triennial Festival. It employs a multidisciplinary approach to identify the social processes which formed the cultural configurations and meanings of art.